SASD ALUMNI SHOWCASE

The Shippensburg Area School District can boast of many outstanding individuals who have gone on to do great things... notable coaches, scientists, writers, performers and others are all part of the Shippensburg family. Among these many exceptional people are art and design professionals whose work is recognized as some of the best around. We hope to tell you a little about them here.

If you know of an SASD graduate whose story might fit SASD ALUMNI SHOWCASE, We'd love to hear from you!Please click here to contact us!

2012 SASHS grad Philip Byers:​“MAKE THE WORK OF YOUR HEART”

Philip Byers paints worlds beyond our own. His visionary art demonstrates exceptional technical skill coupled with depth of thought and imagination to create amazing settings, convey sensual textures, and tell stories from a dreamy subconscious. A 2012 graduate of SASHS, he received his Bachelor of Arts from Shippensburg University in 2016. He is currently enrolled in the Master of Fine Arts program at Penn State University, anticipating graduation in 2019. In fact, both Philip and his wife Shayna Jansen-Byers are MFA students at Penn State which makes every minute precious. Given their hectic life, we are grateful that Philip was able to make time to answer a few questions via email from the points-of-view of both artist and student.

The work on your website portrays worlds and figures that are fantastic and illustration-like, but they don’t seem to fall into the category of traditional illustration. How do you see them?While the influence of fantasy and science fiction art is undeniable, I see my works more as representations of interior psychological states mediated through an amalgamation of the visual motifs and stylings that have accumulated within me. This is combined with a language of visual expression developed through the process of making. Both have their roots in the natural world, depictions of the fantastical, the inward-gazing preoccupations of surrealism, and the act of making itself. I guess you could call that an explanation that explains nothing.

There are definite science fiction and fantasy influences in your work, but one could make the case that there is a lot of Salvador Dali, too. Who do you count among your influences?It’s hard to nail down a definite list--it might be better described as a rotating cast! There’s also the huge volume of incredible imagery I am exposed to on a daily basis, much of it anonymous, that has made its way into my catalogue of inspiration. A few important artists lately have been Paul Lehr, Inka Essenhigh, Zdzislaw Beksinski, Richard Powers, and William Kentridge.In your mind, what (if any) is the distinction between “illustrator” and “artist”? Is that an important distinction?The idea of a distinction between artists and illustrators has never been meaningful to me. Though the term “illustrative” it is often touted as a pejorative, or at least as referring to a category of making essentially different from that of art, I have never encountered a cogent definition of it, let alone one that justifies such an attitude. The truth is that characteristics frequently associated with illustration are just as prevalent in work described as art, and vice-versa. If there ever was a distinction, the pluralistic nature of the art world as it now exists has functionally erased it, even if some cling to it out of prejudice or protectiveness of the status it affords them. The only utility I have found for the term lies in its referring to artwork that is made in conjunction with some other artwork created in a different medium. To my mind this neither elevates nor denigrates it, but merely describes the fact of a certain kind of relationship. Ultimately, my work rests on the foundation of the aesthetic and conceptual experiences that have become embedded in me, regardless of their source.

You were traditionally trained in painting, but work in digital media now. What are the positives and negatives of working in the digital realm?Some of the positives of working digitally are the flexibility and speed as compared to traditional painting media. My working process is very exploratory in nature, often beginning with only a gesture drawing before diving into the painting process, so much of the image is discovered in the process of making. What I aspire to in the final work, however, is something rendered and illusionistic. Traditional media can be resistant to such radical exploratory moves, particularly with a representational outcome in mind, whereas digital media is open to endless transformation and revision with no negative impact on the finished product. Additionally, I never need to purchase more paint, new brushes, canvasses, etc., as everything exists within the virtual space of the computer. All this convenience, however, comes at a price. One of the things I love about

working traditionally is that your choices are more driven by a dialogue with the medium. There is an element of chance and serendipity to the behavior of traditional media that is difficult to introduce to the digital realm. Plus, there is a palpable sensuality to traditional media, especially paint, in both its implementation and appearance that working digitally does not afford. It is also very easy to become caught in an endless cycle of revision when working digitally, as there is no limit to the abuse a virtual surface can take and no bold stroke that cannot be undone. Declaring a work finished can be postponed indefinitely. This is a trap I frequently fell into in my early digital works, and it is still a temptation I must work to resist.

When you were in high school, what was your plan and how did it change?I really didn’t have a plan in high school apart from some vague notion of attending college. It would be more accurate to say I had strong interests, but nothing resembling a roadmap to realizing them as an occupation. I loved movies, books, comics, LEGO, writing and often dreamt of working in one or all of those fields someday. In reality, though, the emotional highs and lows of adolescence made it very difficult to think much further than the end of the day and the pleasure and relief of going home. I started out double-majoring in Math and English Education in college (the Math barely lasted a semester) but found that I was drawing in class much more than I was taking notes. It then occurred to me that it might be smart to just major in what I was already doing anyway, so I transferred to Art at the beginning of my sophomore year. To any students reading: it’s okay not to know exactly where you’re going, and it’s okay to change trajectory.

What is it like to study at the graduate school level?Becoming enrolled in an MFA program has been a unique journey that really doesn’t have any parallels in my previous educational experiences. If studying art as an undergraduate is an explosion of skills and new experiences, grad school is that explosion collapsing into a singularity. It’s a time for figuring out which of those possibilities you most want to pursue, for looking inward and outward to identify what it is you want or need to pour into your art. It is much, much less focused on technique and more focused on developing an artistic voice, strengthening the relationship between form and content, and establishing an identity as an artist. Much of this investigation is pursued via unsupervised studio production punctuated by studio visits with professors and occasional group critiques. While there are classes, as many as half of the credits you take in a semester will consist of this independent production of work, which is a real positive. What should be stressed, though, is that graduate school represents a very specific set of perspectives on art and art making that aren’t very prevalent outside of its confines and do not necessarily encompass the full breadth of reasons for making art. Graduate school prioritizes contextualizing your work within the discourse of contemporary art and art history, encourages engaging in institutional and social critique and other forms of criticality, and privileges the ‘conceptual currency’ of work above aesthetic beauty, design, technique, or any of the other categories commonly associated with art. If art is primarily a means of deeply personal self-expression, a way of relaxing, a source of entertainment, a place to escape into, or something whose relationship to you don’t want meddled with, grad school may not be the right choice. There are many, many avenues to a life in art, of which grad school is only one.

Who is one “must-see” artist for anyone who enjoys your work?Again, this is such a hard question as there are so many artists whose praises I want to sing, but I have to go with Paul Lehr. His lushly-colored landscapes, science fiction by way of surrealism, have been a continual source of inspiration.

What is the biggest surprise you’ve encountered in studying art?One of the biggest surprises has been how little my core values and interests as an artist have changed. While my knowledge and appreciation of the full expanse of art has grown tremendously, the kind of art I am compelled to make and the work to which I am most drawn has remained remarkably consistent. The biggest change has been finding progressively weirder embodiments of those interests, both within my work and outside of it.

Both you and your wife are enrolled in MFA programs. One could imagine that there is a great deal of struggle to find time to focus on each other. How do you pull that together?The main way my wife and I have ensured that we continue to spend time with each is quite simply to prioritize the health of our relationship above everything else, including school. Contrary to popular belief, it is possible to get everything done and still have time leftover at the end of the day. It helps that our studios are next door to each other, but in general we make a point to eat our meals together and get out of the studio by seven at night, allowing for an evening together. There is a kind of machismo associated with staying in the studio for long hours, forsaking sleep and human companionship, that both of us have ultimately found to be both unproductive and harmful to our overall well-being. Managing our time well and establishing a routine has been much more effective in charting a course forward than sacrificing our physical, mental, and emotional health on the altar of art.

From your experience, what are some tips for younger artists as they approach each level of their artistic journey?At all levels, be prepared to encounter a near-constant deluge of new ideas, new artists, and new perspectives on your work. Your assumptions about what art is, what it’s for, how you should make it and what you should make will absolutely be challenged, and many of them will probably change. It will sometimes be painful and frustrating, but it always opens up onto new vistas of understanding and possibility. It’s very hard to imagine what an experience like that could be look like before you’ve had it, but I encourage you to do your best to maintain an open mind. As for practical advice, do your best not to take criticism personally, and try to give it sincere consideration—resist dismissing it out of hand. That said, you are not obligated to change your work in response to any criticism or recommendations you may receive. At the end of the day, it is your work, and you have to believe in what you’re doing. Listen much, much more than you speak, and resist becoming defensive. Find people that believe in your work and develop relationships with them. Through it all, though, don’t lose sight of what compelled you to make art in the first place, and make the work of your heart. You will always have opponents, but you don’t need to be in opposition to yourself.

LOGAN ALLISON MAKES MOVIE MAGIC

Logan Allison (SASD Class of 2006) helps to bring amazing stories to the screen. One of the many dedicated behind-the-scenes filmmaking professionals, he works across four departments, working where he is needed. His recent work includes the new sitcom Downward Dog, the award winning film Fences, dramatic television series Outsiders, and the Netflix production Mindhunter.In the Set Decoration department for the television show Outsiders (WGN), a 1970’s period drama, Allison works under the production designer to bring the set to life after it is built by construction department carpenters. By paying close attention to those little details that make the set look real and not staged, the set becomes one large working sculpture. Season 3 of Outsiders has been greenlighted, so Allison is looking forward to 9 months on the “Set Dec” crew when that production resumes.​Allison also works on the “Greens” crew, using organic materials in many different ways to transform a shot. Sometimes this means stacking 2,000 hay bales at the under layer for a 1970’s era trash dump or staging trees and bushes through a down town shot to block signs or equipment that are not correct for the period.Serving occasionally as a member of the Special Effects crew, Logan worked on the rain scenes on Denzel Washington's Academy Award nominated film Fences which was shot on location in Pittsburgh (where playwright August Wilson wrote the story). He also contributed to special effects for the upcoming Netflix series Mindhunter, working in atmosphere enhancement, making haze and smoke on sets and outdoor locations to help everything read better on camera, including making clouds with nitrogen to blow past the windows of a mock airplane built on the set!Logan was kind to give the SASD Art Department a few minutes of his precious down time to answer some questions about his work.Did you go immediately toward dramatic arts or did it take a while to decide what you wanted to do? After graduation I attended an art program in Philadelphia pursuing photography. I was quickly turned off to the program due to a few lousy teachers and a massive downgrade in the (traditional) film classes offered for a large push to digital. I hit the road, and I didn't stop travelling for many years until I saw all 50 states and a handful of other countries. During this time I mostly made my money as a commercial salmon fisherman in Alaska. The seasonal aspect of the job lent me ample time to travel.What attracted you to filmmaking? Was it always an area of passionate interest?I was originally attracted to film work when some close friends of mine entered the business. This was something I never thought of being able to do before and it was exciting. Being part of a fast paced and creative job was what I was looking for and gave me the chance to grow some roots back in Pennsylvania. What sort of education, if any, did you pursue to work in film?Personally I never received any formal education specifically for set making. I came in at a busy time for IATSE 489 [Union representing film workers in Pittsburgh] as a permit worker. This was a sink or swim opportunity, through this I was able to make many great connections in many departments and eventually settled my focus on set decoration where I am today. Though there are many schools now offering programs in set production and I would recommend students to look into it if they have any interest.What do you love about your work? What’s not so great?Its chaos! That’s both the beneficial and taxing part of my job. Everything is on a deadline and everything is subject to change, you must be able to adapt and deliver anything the director and production designer want for the vision and look they are trying to portray. If it seems impossible you must be creative and find a way to make it a possibility. The camera can be fooled. I love creating and learning all of these tricks from the people I work with.What is the biggest misconception about working on set?Glamour. This job is not glamorous. It is however extremely tiring, dirty, freezing, hot, wet, dusty, emotional, muddy, and a heck of a lot of fun. A set can be in studio or on location. Locations may subject you to countless hours in the elements at any time of year. It's not for the faint of heart, but it is extremely rewarding when something you worked on for 50-60 hours a week is released to the masses. Do you have a favorite project among all those on which you’ve worked? If so, what about it makes it special?To date I am most proud to have put time into Fences. I played a small part on this film helping a couple days a week with special effects to make the rain and weather scenes. This movie means a lot for the people in my town, as it is Pittsburgh play write August Wilson's acclaimed play about getting through life in 1950s hill district. It was shot on location in a house down the street from where Wilson lived and wrote. I was impressed with Denzel Washington's respect for the material he was working with. Through the last year I have devoted most of my time working for a new Netflix Original series called Mind Hunter, produced by top director David Fincher, which will be released by the end of summer. Recently, at the season one 'wrap party' I got to view the first official trailer, and I think we will all be very impressed with this one.What advice do you have for artistically-minded high school students?Don't settle. Do the thing that brings you fulfilment; don't focus solely on money or getting ahead. “Wealthy” means loving what you do every day; from there you can advance much further in life. Also, if anyone is interested in film work, IATSE is an international organization providing work across countless departments. Do some research and see if you feel you fit into any of them. If so, knock on the door (meaning phone/email) of a local IATSE union in an area that has steady film work and don't take "no" for an answer.

BEHIND THE LENS: AN INTERVIEW WITH LAURA SCHALE

Photo courtesy ProArts Media

An accomplished student artist throughout high school, Laura Schale (SASHS 2006) studied Communication Journalism at Shippensburg University, with an emphasis in Electronic Media. Her university experience included everything from on-air reporting and behind-the-scenes work on the university television station, SUTV, to working as a marketing intern for M&T Bank. Passionate about both photographic arts and humanitarian causes, Schale taught photography in Ghana, West Africa for four months following her graduation from Shippensburg University.Schale joined ProArts Media in 2012 as a videographer and editor, eventually increasing her role to include Marketing for the company. She kindly took time to answer questions about her work for Alumni Showcase.

When you were in high school, what did you want to do for a living? Throughout high school (and actually long before that), I was always interested in the creative arts – writing, photography, design, music, etc. While I never had a specific job title in mind, my vision was always to do something that involved creating – maybe that meant owning my own photography studio, writing scripts for movies, etc., - I always gravitated back to the arts.How did you decide on videography? Was photography a pre-existing interest, or did it evolve out of your motion photography training? My interest in photography actually came before my interest in video. My dad was a huge influence in that area – he’s the one that put the first camera in my hands. He would give me feedback and pointers on my photos and we would take nature walks together and then compare our photos. It really piqued my interest and grew from there. I always had a camera with me, and I started shooting video along with my photos. I remember editing my first video. My friends and I had taken a trip to D.C. and I took the individual clips and put them to a song. I remember falling in love with the process of editing, and then the enjoyment of seeing my friends react to the video. I remember that as one of the moments where I felt like this could definitely be something I would enjoy doing for a living.

Tell us a little about ProArts Media.Although it was started back in 1989 as a DJ service, my business partner Doug Huber and I wanted to take the company in a new direction. The idea for ProArts Media: Creative Visual Marketing was born from our passion to use video and photo marketing to grow businesses. We provide businesses and organizations with professional photos for multiple uses – magazines and other publications, advertisements, billboards, website content, etc. We also provide them with video for their business – this can be training videos, introductory videos, event recap videos, customer testimonials, staff recruitment videos, documentaries, and more. We help them concept the idea, write the scripts, plan the shot list, shoot, and edit the video.

What is your typical day like?One of my favorite aspects of this job is that no day is the same! If it’s a shoot day, I usually show up to the shoot (always with 2 cups of coffee!) and we set up in the location we will be shooting, meet the people we will be working with, and spend however many hours necessary to get the job done. This includes shooting the same scene multiple times with different camera angles, interviewing people, capturing events, etc. On non-shooting days, I am in the office editing the footage from the shoot and working on marketing materials for ProArts (along with pranking my coworkers and giving them a hard time). We have a great company culture and I consider that to be just as important as the job we do!

Is there a part of your job that you don’t like? At times, it can be tough to hear client feedback on a project and not take it personally. In the creative field, a lot of the final product is very personal – I feel like each video I edit is a part of who I am. So, when a client wants to change certain aspects, I have to remember that it’s not personal, it’s simply part of the creative process and both sides are working together to create an effective final product. The most important thing is to stay open minded.

Is Chambersburg an unusual location for a firm like ProArts Media?Yes, it is! The kind of work we do is only just now gaining traction in this area, so for many clients, incorporating video into their marketing plans is something new. When I was in college, the possibility of finding a job that allowed me to pursue video without having to move to a new location was very slim. My desire was to stay in this area to be near my family and stay involved in my church – two very important parts of my life. I knew that video was something I was very passionate about, and so I believed that the door would open, even if it seemed impossible! It didn’t happen right away, but when I found out about the job at ProArts, I knew it was the right fit for me and has been ever since.

Please tell us about your teaching experience in Ghana.Wow – it was an amazing opportunity! I spent about 4 months at the Oasis International Training Centre, which is a Biblical and vocational school that my church built in Ghana 10+ years ago. The Centre offers a wide variety of vocational classes for young adults (computer repair, secretarial skills, EMT, sewing, cooking, and more), as well as Biblical training to help them grow as individuals. I was there to help with the everyday maintenance of the Centre, as well as teach a class on Photography when the semester began. It was a good challenge for me – I had to adapt to a new way of teaching as there were cultural barriers, one of the most obvious ones being language. To some of the students, phrases like “import the photos” and “send the photos to the trash bin” held very little meaning, as they had never used a computer, let alone a digital camera. One of the things I loved most was seeing the excitement of the students as they started taking their first photos and realizing their ability! To see their confidence grow with each class was very rewarding. Some of the students had a natural eye for capturing photos and it was thrilling to be part of that creative “awakening” I too experienced when I first started taking photos and realized it was something I love to do.

Now that you have a few years of professional experience, what advice would you give to the high school Laura?It’s hard to believe I’ve been out of high school for 10 years! A piece of advice I would give my high school self is “take your time!!” It’s easy to feel the pressure of choosing the right school and the right career before you graduate, but unless you have a very clear vision of what you want to do, don’t make a decision just because you feel like you have to. I waited a year after high school before starting college and it was the best thing I could have done for myself – I don’t feel that I missed out on anything! During that year, I worked and took some time to figure out who I was outside of the pressures of high school and I believe it helped me go into my college career with a greater focus and appreciation for my studies.

Do you still make art outside of your professional work?Yes, I do! One of the ways I express my creativity is with my guitar. I play in the worship band at my church, as well as on my own and I’m always writing melodies or doing covers. I love fashion, decorating, writing creatively - I think when you love creativity and art, it comes out in your everyday actions.

What would you like to be doing in ten years?​In 10 years I’ll be 38 – that’s insane! I would like to see ProArts Media become a full service advertising agency. I would like to see us hire more team members, do more remote work with clients around the globe, and possibly even open another branch in a different location! Along with that, I’d also like to open my own small business - hopefully a coffee shop or small boutique! I would like to continue to do creative video in my church and to grow it into a team of videographers that create compelling videos that influence change and generation discussion about many topics facing our world. I could go on, but the most important thing for me is that in 10 years I’m still creating, I’m still true to who I am and the things that motivate me, and that I am in some way using my gifts and talents I was given to the best of my ability and to create a lasting impact in my sphere of influence, however small or large that may be.

When one meets Steve Dolbin, one’s first impression is that he is big, both physically and in personality. The former star Greyhound athlete is imposingly tall and he speaks loudly and quickly and is emotionally demonstrative. On the surface, he presents none of the stereotypes that so many associate with artists. All of this may be why the writer finds his art so startling. Dolbin’s work conveys an emotional range and sensitivity from the grandly expressive to the quiet and contemplative. Sides of his in-person personality that are hidden from the world are revealed in his art.

Professionally, Dolbin is a sculptor and professor of art at Shippensburg University; in his private time, he is not only dedicated to art, but holds sports and physical fitness among his passions. He speaks plainly and emphatically about his thoughts on politics and social issues and makes time to take action in community organization and volunteer work. Dolbin is a dedicated family man. He and his wife Robin have two sons, Reece and Collin, both of whom have suited up as members of our Greyhound sports teams.

Dolbin’s sculptures have been exhibited all over the world with a list of exhibition credits that is too long to duplicate here. In small venues across the U.S. to international exhibitions sponsored by the Museum of Modern Art in New York and by the Royal College of Art in the UK, Dolbin’s work makes strong connections with viewers. Some of his art is massive: a work in welded steel that is currently in process (called “River Spirit”) is nearly 40 feet long. Other works are on a much more personal scale. He works in natural and man-made materials, both fabricating his forms and incorporating found objects. You can see images of his work in the slideshow below.

Dolbin studied art at various schools including at Shippensburg University and at the prestigious Art Students League of New York. He holds a Master of Fine Arts degree from Pratt Institute, one of the best-known art schools in the world. Teaching is in his blood, too; he holds a K-12 teaching certification from Kutztown University and has taught high school art here in the Susquehanna Valley as well as at the university level in positions at several colleges and universities in the northeast. While a student at SASD, Dolbin was both a strong art student and a strong athlete. He wrestled and participated in football as well as other sports. In college, he was a star football player while at Shippensburg University.​Recently, Mr. Dolbin kindly agreed to answer several emailed questions for the SASD Art Department’s Alumni Showcase.

You’ve been a strong figure in the Shippensburg art scene for many years. When did you graduate from SASD and what brought you back to Shippensburg?I graduated from SASD in 1977. Then I went to a number of universities to become a public school art teacher then professor. I always thought I would love the chance to accomplish some much-needed educational, artistic and cultural objective that would benefit Shippensburg University and the Shippensburg area if I could have the opportunity to teach at Shippensburg University and live in Shippensburg. I am proud to say that I did return to my hometown in 2000 and have tried to hard make as many contributions to my community as possible these past 15 years.

You make and teach all kinds of art, but are a sculptor above all. What most appeals to you about sculpture? Its “realness,” the fact that in most cases it is dealing with materials, tools environment and process. It can’t just be an illusion on a piece of paper or a computer screen. It must be a real thing inhabiting three-dimensional space just like us. I also LOVE that material can dictate the process. Your ideas must suit the materials. Ideas are important but overrated. Many times young artists are consumed with their "idea” regardless of what material. I love having a concept but always letting the materials and process influence it. I have thousands of ideas, but they must change and adapt to materials and process to ultimately contribute to a finished piece. In particular I like a “fight”. I want the material to struggle with me and create a dialogue with me… a conversation. Only after that collaboration, in my opinion, do you have a mature work.

Can you give us some insight into your daily art-making routine?I record my thoughts with words and small sketches in a small sketchbook. It’s very small so I have no excuse not to have it with me at all times. I also physically go into my studio every day, even if I am not working on something. The routine of going will always keep me connected to your works, materials and thought processes. Making art is 99 % work. Everyone has ideas; I have thousands of “Ideas”. But it’s the routine and the actual physical work that gives birth to the art works! I teach Monday through Thursday, 8 a.m. to 4 p.m., but Friday is sacred. It is dedicated to studio work only. I usually always spend Saturday and Sunday in the studio or exploring the valleys, waterways and mountains that surrounds us here in PA. I feel very strongly that one generates their work by exploring their environment, their life experience and working with materials. The idea of some “divine enlightenment” dropping down on you or “idea lighting” striking you is almost laughable. To get work, work!​The other thing that I do that is an absolute "must" in order to get support for you actual artwork is the practical part that exists outside the studio. I dedicate many hours to communication with other artists, curators, gallery owners and people in the art world. Outside of our rural community I use social media and the Internet to do this for the most part. But it is WORK.

You are not shy about your opinions and your politics. Do political statements often enter your work?My actual artworks do contain a tremendous amount of content that has emerged from my beliefs in regard to the environment, humanity's role in the world, our fellow creatures and other very universal concerns. Some may be more pointed or specific but I communicate in what I feel is a much more subtle and profound way through my sculptural forms than I could ever do in my big noisy personal way. In a recent interview I mentioned, I’m so loud but my work is so very quiet. When I say “quiet” I don’t mean “weak;” I mean “powerful.”

Tell us about one of your current personal projects, “River Spirit?” In 2005 I was commission by the famed patron of the arts Elsie Swenson to create a huge monumental sculpture on the banks of the Susquehanna River in our state capital, Harrisburg. I had previously worked on a number of very successful commissions with Mrs. Swenson and was given tremendous freedom in what form this new monumental work could have. I have had a life–long interest in Native American history, arts and spiritually. As a University professor, I have been fortunate to do research in some of the world’s most important native American cultural sites such as Chaco and Barrier Canyons in the South West United States. While living here in Pennsylvania I have visited some of the last surviving ancient Native American petroglyph sites of the East Coast, located in and around the Susquehanna River. Accordingly, I felt this would be great opportunity to create a monument to the legacy of the many tribes Americans that first settled the Susquehanna Valley what are now called the Eastern Woodland Indians.

After a rigorous process of conceptual drawing and models both small and full-size, I began to build this giant stainless steel abstracted river form. "River Spirit" is 37x 12 x6' and when finished will have many of the petroglyphs (that were carved into the many stone sites in the actual river in ancient times) represented in the surfaces of this sculpture. After a few years of great progress, the benefactor passed away of cancer. Unfortunately her power of attorney was passed to others who were not interested in continuing her great creative legacy. The location that originally was to be its home was owned by the benefactor. Upon her death the site was no longer an option.​I have continued on my own to nearly finish this work dedicating my own funds and labor. I have many interested parties and locations and I am currently deciding which location would be the most appropriate for this magnificent sculpture. I have dedicated many years of my life creating what many feel is this century’s quintessential monument to native Americans so I am being very careful in regard to its final completion and location. I cannot disclose every detail at this point but the current location is a magnificent spot overlooking the Susquehanna River associated with a proposed museum dedicated to our states Native American heritage.

Are you an artist who teaches or a teacher who makes art? Does that differ depending on the day?It has changed back and forth over the many years I have taught. As a college student I did not want to teach but when I did I fell in love with it. To know you are helping others is tremendous. Then as a young college professor I took time away from teaching to be at home with my very young children. The plan was to continue making art but not teach. Not teaching was very difficult; I needed the interaction of teacher and student. And as always, if you are really teaching you feel a sense of exhaustion too. Some times that mental fatigue can cross over and affect your studio work. Recently having stepped down from being the chairperson of the SU art & Design Department I do feel a very strong desire to make my work the number one creative priority in my life. I still am hugely dedicated to my students but after thirty years of teaching and art making I am trying to make my family and personal artwork the number one priorities. Actually that directly benefits my students. They see and are part of the “real” art world through my experiences.

On numerous occasions, you’ve shared your appreciation for artists, critics, and others who’ve guided you and helped your career. How important is it for young artists to connect with mentors?This is absolutely a key to success in the arts. One must have a mentor (someone you respect and appreciate). Students must find a person that they can they honestly communicate with. But remember it is a two way street you must assist and help and be willing to follow the advice and opportunities presented by your mentor. You have to be willing to work your tail off to prove you are worth the mentor‘s time and support. I was so very fortunate to have studied and mentored with amazing people but I also worked long hours helping them with their projects to not only prove myself to them but to have the opportunity to be involved with their artwork and professional lives. Now as a teacher I often feel very fortunate to be able to “channel” those very famous and accomplished people when I demonstrate or teach. My mentors showed me the way.

The artist’s life can be very challenging in many ways and financial security is surely not the smallest concern. How does an artist cultivate a relationship with patrons?This is a very tough element. Never stray from having a way to support yourself without patrons, but look for, nurture and keep them if you can. Communication is extremely important. Let people know what you are doing. Use the media and word of mouth to share your projects. Many times it will attract those who wish to support your work.

You work in higher education and you’ve attended some very impressive schools including receiving and MFA from Pratt, but you’ve been outspoken about the sometimes-impersonal nature and expense of similar institutions. What should art students look for when making higher education choices?I feel strongly that one must first attend a school that where you feel a sense of support from the faculty. Many undergraduates who don’t feel a sense of this drop out of school no matter how big the name or reputation. Get that success and support under your belt. When it comes to graduate level school such as the pursuit of a MA, MFA or PHD you really do need to go for recognized name or program. I also feel one must have the experience of living in an art rich urban environment.

What’s next for you?Aside from the huge task of completing and placing “River Spirit,” I am working on two very large scale commissions in limestone and stainless steel that have just passed through the proposal and small-scale model stage. I should be working on the full-size models within the year. I am also strongly pursuing exhibiting opportunities overseas and once again giving urban gallery association’s careful consideration. Most importantly I hope to always be the best father and husband I can be. I pursue my art relentlessly but my family is a legacy that matters more to me than anything. ​​

The Dolbins (l to r): Collin, Robin, Steve, and Reece

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SASD GRAD BRINGS INTERNATIONAL ART TO SUSQUEHANNA VALLEY

Lauren Nye is busy…really busy. The 2006 graduate of Shippensburg High School is the exhibitions director of the Susquehanna Art Museum in what may be the most dynamic time in the museum’s existence. Newly re-opened in a brand new space at 1401 3rd Street in Harrisburg, the area’s only museum dedicated completely to art is in full swing with a calendar packed with great exhibitions and educational programs. And as exhibitions director, Nye is standing right in the center of the storm.

How did you get started in the curatorial field? Was that part of your specific plan?The curatorial field specifically was not part of my plan, though I don’t think that I ever had a concrete plan to begin with. On my first day of college orientation I asked the chair of the art department if they hired students, and if I could have a job. She assigned me to work in the college’s art gallery for starters, and I’ve worked in galleries ever since in some capacity. It wasn’t always my primary focus though. I’ve also worked as a studio assistant to multiple artists, an artist-in-residence, a research assistant, etc.

What kind of education is needed to do what you do?Exhibitions and programming staff come from varied backgrounds. My focus in college was fine arts, specifically sculpture and art history. Often people in this field come from fine arts, art history, museum studies, or art education programs. Most of my training on the general management of exhibitions and gallery organization came from on the job training throughout the last nine years.

Do you make art, as well?I do, though not as much lately as I should. My primary focus in college was in the sculpture studio, which lends itself to a lot of exploration of materials. I learned a lot of skills that are invaluable to my life now overall, not just my career. I worked with my hands, built things out of wood and steel, learned to weld, and operated a bronze foundry (among so many other things). Since leaving a full-time studio environment, my methods for art making have had to adapt.

What is the mission of the Susquehanna Art Museum and how does that impact what you choose to exhibit?The mission of the Susquehanna Art Museum is to exhibit nationally and internationally recognized artists to educate, inspire and foster creative exploration, collaboration and public engagement. As I plan exhibitions for the museum, I take in to consideration a few major concerns. Among them are how relevant the artwork is to our community, and if it gives visitors the opportunity to learn something new. Education is a big facet of the museum’s mission, values, and everyday operation. I work closely with our education manager to make sure that viewers of all ages, backgrounds, and experience levels with art can be engaged with what is on view. We also have multiple galleries, which gives us the opportunity to offer multiple types of artwork at the same time.

After a long period of time in limbo, the museum just reopened in a great new space, and with a great sense of energy. What was preparing for that opening like?The staff and board members of the museum spent years planning and fundraising for the new building. I was hired at SAM around the time they first broke ground on site and the construction began. We spent the next 14 months of construction planning the first year of exhibitions and operations of the new museum as well as consulting on the construction process at the facility. It was an intensive period of focus on the upcoming opening while still staging multiple exhibitions in our transitional space. We opened our doors to the public on January 16, 2015 and were overjoyed that over 1,100 people came that first night to celebrate the opening. It’s a time that I’ll always look back at with a lot of pride.

Can you describe your typical day?I spend most of my days in the museum now, which is fantastic considering how long we were without this permanent location. I work closely with the fellow programming staff members to plan, coordinate, install, and maintain the exhibitions. My especially crazy time happens when we are between exhibitions in either gallery. I oversee the entire change over, including intake of artwork, patching and painting the walls, writing the labels, designing the layout of the works in the exhibition, etc. As a small hands-on staff we all help to maintain general operations in many ways. With the help of valuable interns and volunteers, I manage the social media and website updates, the gallery host volunteers and scheduling, and help with programs. I also sit on a few different museum and community arts committees, and am coordinating a 1,500 sq ft mural being created for one of the buildings adjacent to the museum. And I take a lot of dog walks around the city in between there, somewhere.

How do you go about developing an exhibition?I go about exhibitions different ways. Sometimes, I curate a group of artists around a central theme and create an entirely new collection of work to be shown together. Other times we engage partnering organizations to collaborate on an exhibition, or loan a collection of works from an institution or private collector. I am part of a sub-committee of the board of directors that focuses on exhibitions and education, so often I bring a few ideas that I’ve already developed and researched to the committee and we all discuss which would fit best within the mission and annual schedule. There a lot of steps to take an exhibition from a concept to a reality, so it’s important to have a group of experienced committee members and volunteers to lend their support.

In your mind, what constitutes an excellent art exhibition?I think that an excellent exhibition is one that people are drawn to come back to for a second visit, which means they spent time thinking deeper about it after they left the gallery. Some of the most rewarding moments in my job are when I overhear visitors who are surprised to learn something new or find a new technique or type of imagery that they are inspired by and have never seen before. I also personally like exhibitions that have a clean, contemporary design aesthetic regardless of the era the work on view was created in. Consistency in quality is something that I strive for in all areas.

What responsibilities does a museum have to the artists it exhibits?On a basic level, the museum is responsible for insuring for the care and safety of the artworks in their possession to as high a standard as they would works for that they owned. On a broader level, the museum should ensure the best possible presentation of all artworks as individual elements of an overall exhibition. We also have a responsibility to educate and inform our viewers about concepts and techniques on view, which benefits both the viewers and the artists.

Are there things that the Susquehanna Art Museum won’t show? If so, what and why not?I always keep in mind our community and the demographic of our members when I plan exhibitions. If something were proposed for an exhibition that may be incendiary, it would be treated carefully. In general though, I don’t often get proposals from artists for exhibitions at the museum that I would consider inappropriate. I dealt with issues of censorship and the appropriateness of certain works in previous jobs at commercial galleries, but not much at the museum (yet!).

Why is art important to the community?Art provides not only a creative outlet, but also unlimited opportunities for learning. It can unite people from completely different backgrounds, give a voice to those who wouldn’t have one otherwise, and teach people practical skills that they will apply to every area of their life. It’s a different way of thinking, with fewer boundaries and the chance to create something meaningful that is completely unique. Spaces where art are made or exhibited are places where people come together to share ideas, which is how a community grows strong.

When Britney Wiser was in high school, she didn’t feel like she fit. Her journey forward wasn’t easy to see and she wasn’t sure what she wanted to do. She loved art, but she loved a lot of things. Her interests were broad and she struggled to find direction. Many adults and current high school students can identify with her feelings… Despite what many students believe, the path is clear for very few. Today, she is a New York City-based fashion designer living in a fast-paced world, but it surely didn’t start that way.When did you graduate from SASHS? 2004

What and where did you study after leaving SASHS? After leaving high school I studied fashion merchandising, completing my Associate’s Degree at the Art Institute of York. From there I decided fashion design was the direction I was passionate about and completed my Bachelor’s Degree in Design at the Art Institute of Philadelphia.Did you go into fashion design immediately?Well, when I was in high school I didn't know what life really had to offer. I was heavily bullied at school and really was only focused on getting through the day, not what my career would be. Because of that, I waited until the last minute (3/4 into my senior year… whoops!) to figure out what I should do. Construction work was something I was brought up around and understood, so I thought that maybe something along those lines would end up being my path. When looking for colleges, I started leaning towards electrical work. This was something I felt I could excel in, but was not fully passionate about. Needless to say, my gut feeling told me that the path to becoming an electrician was not where I should be. Did you always know that you wanted to pursue fashion design?Coming from a small town... (When I was in Ship, the town was even 'smaller' than it is now!) fashion design wasn't an option. Many people wanted to be teachers or interior designers and past that I really didn't know what options there were. When I started to think of fashion as a career, many people said I was going to school to become a retail manager.

Cruel, right? Unfortunately this can be very true if your not willing to be a hard worker and build on your creative talent. So, did I always know that fashion design was meant to be? No. I honestly had no clue.My senior year of high school, the Art Institute came to one of my art classes and discussed what their school had to offer. It wasn’t until then that it even dawned on me that people really do creative fields for a living and that there are so many creative and artistic options out there. It sounds dumb, but it never crossed my mind that art flowed into so many different career paths. Once I started researching further into their fashion program, I knew fashion would be my niche. How did you break into the fashion industry?WORK WORK WORK! I worked hard in college to make sure I learned everything there would be to know. On my own time I learned things that you couldn’t fully understand just from a class. I took every class seriously, not just Drawing and Patternmaking, but Ethics, Aesthetics and Psychology because I felt they were just as important to understand. Design is inspired by all subjects of life! Because of my dedication and hard work to build my skills and learn new techniques, people started to notice. Professors wanted to help me make proper connections in the industry and help me build on my strengths, and help correct my weaknesses. When I moved to Philadelphia to pursue the design aspect of fashion, that is when I really started to hit the ground running. I not only had to succeed in school, I had to take it upon myself to experience the field. So while in school I commuted to NYC three to four days a week to complete internships at companies such as Oscar de la Renta, Heatherette, and Devi Korell. I knew that if I wanted to be in the fashion industry, I wanted to be a part of the cream of the crop in NYC working for high-end fashion designers (high-end designers are what you see on the runway during fashion week). After graduating from college I applied to jobs online and also went old school going door to door with a portfolio of my work and a resume, hoping one of the designers in NYC that I felt coincide with my own aesthetic would have a spot open for an assistant designer! After three months of sending out resumes and going on interviews I was offered an assistant designer position with a young high-end women’s wear designer. I know that sounds like poof I made it! But in reality I was sending out sketches and resumes to companies that didn’t even have job postings up just to get interview experience. Each day for three months I was sending out around 50-60 resumes or filling out questionnaires online to apply for jobs. Fashion is a wide field, encompassing lots of jobs. What types of work, specifically, have you done? What do you do now? Well when people think fashion they really only think about cut and sew designers. Which are the people responsible for designing the silhouettes by sketching them out or draping them on a form. However there are SO MANY other elements that go into design. With my first job I was in charge of the embroidery, print and fabrics. Normally with larger companies you would pick one of those design departments to be in. While smaller companies you can many times be in charge of multiple elements of design. In embroidery design I would go to vendors see what types of materials they were using and then sketch layouts for the season. Each layout would be colored and have instructions to go along with them so that the mill knew what materials and techniques we were interested in having them use. From there we would correspond back and forth with the mill to insure our designs were being executed properly. In Print design this idea was very similar. Finding new and innovative print techniques and creating artwork for them. The artwork was usually hand sketched first. We then would use different mediums to color in the work and place it into the computer to create multiple colorways, clean the artwork, and make the work repeatable. Repeating the artwork is just making sure that once it is printed once it will seamlessly flow into the next all the way down the yardage with no break lines. We would also do placement prints or embroidery. For fabrications, I sourced new vendors to work with, went to fabric appointments, selected fabrications and provided the mills with all information needed for our purchases each season. I also had experience interning in production, which allowed me to work closely with our production team. Production takes all the final designs in the collection and mass-produces them to then ship to stores. So I worked with production in costing the collection and making sure all garment details where done to designs liking. Unfortunately the company closed down in October and since then I have been freelancing in print design. Currently, I am freelancing at Diane Von Furstenberg in their print design department and am loving the experience. I’m keeping my fingers crossed that it can turn into a permanent position.What is the most interesting part of your job?We are always creating new artwork that someone is eventually going to be wearing. It’s always cool to see the artwork you and the team have worked so hard in creating being worn by someone. It’s a great feeling to help someone else express who they are and feel their best in a print you helped create.What is your day like?No day is ever the same. The print design team is always on the go with new ideas and keeping up with each season’s artwork. One day I could be hand-sketching an idea, then placing them into the computer to create an artistic design. Another day I could be researching for inspiration photos and coordinating the paper work needed to send to the print houses. I’m never working on one thing at a time and never one season at a time. Who are your fashion heroes?Well if we are speaking heroes, not just designers I love, then I would say: Alexander McQueen (given), Diane Von Furstenberg (given), Prada, Balenciaga, Vivienne Westwood, and Christopher Kane. Above all is Tom Ford, mainly for one of his quotes that inspired me during college: “When the youth of America gets together, amazing things happen.”You come from a small town and now you live in one of the biggest cities in the world. Was that a difficult adjustment?The adjustment wasn’t bad for me. Since I started out small, baby steps was key! I went from a small town to York, Pennsylvania which was a little more city then Shippensburg. From York, I moved to Philadelphia, which is a smaller version of New York and allowed me to transition into the NYC life easily. As long as you embrace all cultures and ways of life, the city is a great place to be and is easy to adjust to. I didn’t know a lot of things and ways of people, but I was willing to learn. Not losing who I was as person really did help. You would be surprised how many people find a country girl endearing and a breath of fresh air.What is your favorite thing about living in New York?You can be who you are! Culture is everywhere you turn. No one is the same race, religion, etc. You can really do anything you want in NYC and experience all types of cuisines, cultures, arts, sports and people… If you want to wear neon purple polka dot shoes on a daily basis, be NYC’s guest! You’re free to be who you want to be in New York.What do you hope to be doing in 10 years?It’s hard to determine how life will really go, especially in the fashion industry. Companies close, people can be cruel, and sometimes design houses you admired from the outside aren’t what you expected on the inside. I definitely do know, however, that I want to be with a company that I have been with for many years and to have built my career within design. I would love to build my career in print design, as I feel that is my strongest suit, so we will see where the road leads me.

SASD GRADS MAKING THE WORLD A MORE BEAUTIFUL PLACE... ONE ROOM AT A TIME

What defines success in design? When do you know that your work is resonating with your audience? Benita Hendrickson Goldblatt could provide many answers to those questions. A 2002 graduate of SASD, she’s gone on to found her own interior design studio AND co-found her own design brand with Internet and bricks-and-mortar retail locations. Moreover, she and her business partner Jessica Misner Diehl (also SASD Class of 2002 and a graduate of James Madison University and the University of Pennsylvania) have proven that childhood friendships can turn into lifelong productive partnerships. Both Benita and Jess had found success independently, but a real magic was sparked when they began to work together. Conceived during a long international flight, the concept for their Zestt brand is one of bringing a sense of ownership in the design process to consumers. Through their interior furnishings offerings, the Zestt blog, and their community of independent designers, Benita and Jess hope to create an approachable sense of interior design that empowers consumers to take charge of the design of their spaces, either through their own innate design sense or with professional guidance. Ultimately, the goal is to create a better quality of life through the incorporation of aesthetic sensibility. Recently, Benita took time from her tremendously busy holiday schedule to answer a few questions for the art department’s Alumni Showcase.

Tell us about your journey from Shippensburg -Upon graduation, I entered into a BA program at SU (Shippensburg University) with a major in Marketing, and a minor in graphic design. Although I really enjoyed marketing, it only took one accounting class to realize that the right side of my brain was starving for creativity. After a spring break trip to Florida my sophomore year, I fell in love with the weather and decided the sunshine was calling my name. I only intended to move down here for the summer, but in two short months, I met Michael (my husband 9 years later) as well as some amazing friends. I then transferred into a BA program at the International Academy of Design and Technology to pursue a degree in interior design, a career choice that I was always passionate about.

How long have you been a designer? -I began working in the field as an intern with Nasrallah Architectural Group during my BA program in 2004. My internship turned into a full-time design assistant position quickly after and I've been working ever since. In 2010, I passed my NCIDQ (National Counsel for Interior Design Qualification) licensing exam and opened BMG Design Studio, my interior design firm here in Orlando. What influenced you to work in interior design? -As a child, I had a love for rearranging my room and helping my mom with random projects around the house. We spend many weekends DIY'ing. Throughout college I knew that I wanted to use my background in art in my career and when I researched the industry (interior design) I felt it was the perfect fit. Each new project is like a blank canvas!What are you doing now? My life these days consists of suitcases, planes, trains and automobiles...but, I'd have it no other way. -BMG is alive and doing well. We just broke ground on an 8,000 square foot custom residential project here in Orlando and are in the midst of a mid-century modern renovation on Palm Beach Island. -My biggest endeavor would be Zestt, the home decor and accessory line that I founded with Jess Misner Diehl in the spring of 2012. Jess and I have worked together to curate the brand, traveling throughout the US and overseas designing and sourcing unique pieces for the home. It has been an amazing process and we've met some very talented people along the way. For our art collection, we wanted to connect with indie artists throughout the country to help bring their work to the masses. The line offers limited edition gallery wrapped canvases and prints of their work. Each artist is also highlighted with a bio page on our online boutique. This gives our customers a platform to connect with the artist, learn more about their work and follow them as they grow.How did you become interested in Internet retail? -Jess and I knew that we wanted to bring Zestt to the world, BIG PICTURE, so what better way than through the Internet? By creating our online platform, we can connect with customers across the country, give style advice and continue to grow the brand right from our computers.

Tell us about your bricks-and-mortar stores -We are very excited to announce the opening of our 2 holiday Pop Up Shops, one located in Georgetown, DC and the other in Philadelphia in the King of Prussia Mall. Both locations will feature an array of our product line, giving our buyers a chance to see the product in person and learn more about the brand. In addition to our full line, we will be featuring a few holiday items including a collection of hand blown ornaments and glassware by Jeffrey Auxer (a former Greyhound, too!). Jess and I will also be on site, working the store and offering complementary style appointments! What are your plans for the future? -For Zestt, our plans continue to evolve by the day. Our hope is to spend the next year growing the brand while working toward a flagship brick and mortar location in the near future. See more of Benita’s interior design work at bmgdesignstudio.com and check out Zestt at shopzesst.com!

Riley Cameron, SASHS Class of 2005.

A CAREER OUT OF FEAR“Deep into that darkness peering, long I stood there wondering, fearing, Doubting, dreaming dreams no mortal ever dared to dream before…” From “The Raven” by Edgar Allan Poe

Do you want to see something scary? 2005 SASHS graduate Riley Cameron sure hopes so! Cameron has been creating haunted attractions and things macabre as long as he can remember, and he’s made a business out of his passion. In 2014, his Chambersburg-area business, Nevermore Productions, will celebrate its 5th year of creating unique, frightening works of sculpture and other attractions for “haunts” all over the world. This is Cameron’s busiest time of year, but he kindly took a few minutes to sit down and answer some interview questions for the art department’s Alumni Showcase.How long have you been doing things related to horror? Ever since I was old enough to walk. My parents always carved pumpkins with me, made costumes, decorated the house, had Halloween parties, etc. Halloween was a big deal for us and there were always plenty of opportunities for creativityWho or what do you count as a major influence? I’ve always have been intrigued by Poe's work. (It is) a perfect juxtaposition of beauty and elegance with dark and gruesome… Very raw.Where did you go to school? Shippensburg University. I graduated in 2009 with Bachelor of Fine Art.How did you learn about special effects make up and processes? I use a lot of my classical background...sketching, sculpting, etc., that I learned in high school and college, but the majority of the special effects techniques were largely self-taught. There is a wealth of information on the Internet and I would spend hours researching and learning, joining forums to talk with others in the business, looking at and studying other companies and the props that they produce and most importantly, taking the skills I learned and trying them out for myself. That’s the best way for me to learn: getting my hands dirty and trying a new skill. Whether it’s making molds, engineering animatronics, programming the animation, etc ., it’s best to just jump right in and give it a shot.Tell us about your business and projects(2014)...will be my 5th year owning my company. We produce everything from large scale animatronic monsters, set pieces, static props, costumes, and complete haunted attractions. There is a main tradeshow we go to in March of each year where almost all of the haunted houses in the country, and some even out of the country, attend. We set up detailed booths to display our new products and set pieces, interact with the customers, and take orders. During the summer months we work as a production company, filling orders which could range anywhere to one or two items to 50 or more. Occasionally we will get requests for custom work where we sit down with the client, discuss ideas, I usually do some concept sketching to make sure we are on the same page, agree on a price and go to work creating whatever the client wants. Usually each year there are one or two large scale projects that a client will commission us to create an entire walkthrough attraction or part of an attraction.For whom have you done work? Our clients come from all over the world, ranging from small yard displays to major theme parks... Busch Gardens, Cedar Point, Six Flags to name a few. Field of Screams, Jason’s Woods and the Bates Motel are some of the more local haunted houses…What is the most interesting work you've done? Last year I was asked to be a part of a major project by another company, (Eerie Productions), building and installing a haunted house in Taiwan. We worked for 2 months practically non-stop creating a top of the line, super realistic, super high tech haunted house. Then we tore it down, shipped it overseas and then went to Taiwan for a month to install it at one of their major theme parks. What do you hope people take away from your work? I hope people look at my work and see how far the haunted house industry has come from its humble beginnings to a legitimate industry pushing the limits with realism and blurring the lines between fantasy and reality. I strive to not just imitate reality, but create it. Click here to see Riley’s website!

Rita Yu, Class of 2006

THINKING INSIDE THE (X)BOXWhat do the Shippensburg School District and the X-Box One have in common? They both showcase the design work of Rita Yu. You’ve probably seen Rita’s work if you’ve attended an event at the high school auditorium. The 2006 SASHS graduate's colored pencil drawing won the Tom Colley Art Award and is displayed in the auditorium lobby. Her self-portrait peers out from a leafy hiding place, a knocked arrow pointing right at the viewer. It’s a surprising and striking image. It’s even more striking if you’ve ever met the artist. Yu has a quiet and humble, almost shy, personality. She’s more likely to let you run a conversation than not and is definitely not about bragging or getting in someone’s face. Not that she couldn’t brag a little, if she wanted… Yu graduated from James Madison University’s Art Department with a Bachelor of Fine Arts degree in Graphic Design. While there, she racked up a serious list of awards and scholarships including a student Addy award. As impressive as was her work at JMU, it was in graduate school that she really took flight. Yu earned a graduate scholarship to the world-renowned Rochester Institute of Technology to pursue a Master of Fine Arts in Graphic Design. While there she studied everything from typography to digital user interface design. She worked on interfaces for iOS apps, designed motion graphics, developed branding, and designed jewelry. She won several awards including the Lella and Massimo Vignelli Award, an award endowed by and named for the legendary designer, Massimo Vignelli, responsible for the classic American Airlines logo, the New York Subway signage system, and other important works. As her graduate thesis, Yu developed Tailored Type, a web-based application. An experiment, the concept of Tailored Type was an application to help clothing designers choose type based upon a target audience’s age, gender, and other factors (see it here). With her graduation from R.I.T. looming, Yu began the interview process, hoping to land a job in the highly competitive design industry. In the late spring, she interviewed with several firms, but had no luck. Then she received the call that changed her world. Microsoft was interested in interviewing her for their Interactive Entertainment Business Unit, the division that controls the development of the X-Box. Yu traveled to the company’s Washington state headquarters and underwent a grueling and stressful interview. “It is a little weird to stand up and talk about your work to a bunch of strangers, but I’d been doing it for a long time through school,” she said in a visit to a high school design class in June. “That definitely helped me.” Yu landed the job and moved to Washington in July to start work on the UX (or “user experience) for the new X-Box One system. In an email discussing her upcoming work, she reflected on her parents, who were very worried about her career choice when she first told them about her aspirations. “…My parents are happy with my decision now, thank goodness. They're not too happy that I'll be across the country and are worried that I'll be under a lot of stress, but that's life being a designer almost anywhere.”UPDATE: "Work has been crazy busy and I've been pulling 60–80 hr weeks... but other than that I enjoy it..." wrote Yu in a recent email. Click here to see Rita Yu’s portfolio!

SASD GRAD TO SERVE AS ARTIST IN RESIDENCE AT JAMES BUCHANAN HSAaron Treher is many things, but bored is not one of them. A 2004 graduate of SASHS, Treher, an award-winning artist, has been at turns a community activist, a gallery director, and an entrepreneur. He was one of the founders of Shippensburg’s Thought Lot Contemporary Arts Center and has opened his own artist’s studio. And soon he will add something new to his list of experiences: artist-in-residence.

Treher will begin an artist residency at Mercersburg’s James Buchanan High School in the Tuscarora School District. While there he will work closely with art instructor Anita Shively. The art program at James Buchanan previously hosted several artists-in-residence; original funding was provided through a grant from the Pennsylvania Counsel On The Arts.

Treher, who studied sculpture at Indiana University of Pennsylvania and at the Academy of Fine Art Zagreb (Croatia), will be working at James Buchanan High School throughout this year.

Treher has worked in a variety of media, from assemblages of found objects to wood turning to cast objects. He considers mold-making, an artists’ discipline he studied in Croatia, to be a primary area of expertise. While at James Buchanan, he will be creating works of public sculpture in collaboration with student artists.

“I am super super excited (to be starting the residency)…” said Treher in a posting on his Facebook page.

SASHS Alum makes it big!(Originally published in May 2013)You may not know Eric Brennan, SASHS Class of 2007, but earlier this year, he probably made a big impression on you. Brennan, currently an M.F.A. student at Indiana University of Pennsylvania, was tapped to create a series of four paintings for Project Elevate, a joint venture between a billboard company, Kegerreis Outdoor Advertising, and the Chambersburg Council For The Arts. The project seeks to work with artists to promote positive messages within the community.

Brennan’s work featured a child in a red cape and his theme for the works was empowerment. The works were visible on four Kegerreis billboards along Route 30 in Chambersburg during January and February of this year.

Brennan, now 24, was a winner of the Tom Colley Award in 2007. He received a Bachelor’s of Science in Art Education from Shippensburg University before beginning his Master of Fine Arts degree in Drawing and Painting from I.U.P. Brennan has been a substitute on several occasions at SASHS, most recently in a two-week, extended substitute role for Mr. Martin at the end of last school year.